Murray Moss: Design Impresario
Crista I. Mechlinski Bazoian
Submitted in partial fulfillment of the requirements for the degree Master of Arts in History of Design and Curatorial Studies
MA Program in History of Design and Curatorial Studies Cooper-Hewitt, National Design Museum, Smithsonian Institution; and Parsons The New School for Design 2015
©2015
Crista I. Mechlinski Bazoian All Rights Reserved Table of Contents
Acknowledgements iii
Introduction 1 Chapter One: Staging a Career in Design: Murray Moss in Theater and Fashion 6 Chapter Two: From Clothing to Objects 11 Chapter Three: Choosing a Location and Opening Moss 14 SoHo, A Brief History of the Neighborhood 15 Chapter Four: Moss, Influential Exhibitions 19 Inspiration from the Museum of Modern Art, New York 20 Italy: The New Domestic Landscape, Achievements and Problems of Italian Design 22 Retail as Theater 24 The Art of Merchandising and Merchandise as Art: Alessi and Iittala 29 Tupperware 31 Chapter Five: Droog and the Dissemination of Dutch Design 35 Chapter Six: Siegfried Bing, Terence Conran and Selling Design Before Moss 38 Chapter Seven: More Moss, at Home and Abroad 42 Chapter Eight: Closing Shop, Opening a Bureau 47 Conclusion 50 Bibliography 53 Illustrations 57
i List of Illustrations
1. Page 1 and 2 from Tertium Quid 57 2. Ronaldus Shamask, Spiral Coat 57 3. Angelo Mangiarotti, Bibulo Decanter 58 4. Exterior of Moss, 146 Greene Street 58 5. Interior of Moss, 146-150 Greene Street 59 6. Lucian Bernhard, Kaffee Haag Poster 60 7. Cover of Machine Art Catalog, 1994 edition 60 8. Ruth Bernhard, Outdoor Propeller 61 9. Gaetano Pesce, Donna chair and footstool 61 10. Moss display of Nooka watches, featuring signage 62 11. Moss Interior 62 12. Tejo Remy, You Can’t Lay Down Your Memory 63 13. Where There’s Smoke, at Moss 63 14. Exterior L’Art Nouveau, Paris, France 64 15. Interior L’Art Nouveau, Paris, France 64 16. Moss Interior, showing “runway” 65
ii Acknowledgements
I would like to thank Murray Moss and Franklin Getchell for their humor and honesty, but mostly for being so generous with their time during the researching and writing of this thesis. I am grateful to my advisor and first reader, Dr. Sarah Lichtman, for her focused advice and en- thusiasm for this topic, and for keeping me on track to complete the work. I would like to thank Professor Ethan Robey for his time and input as a second reader, and all of my professors in this program, whose instruction and expertise continues to inspire my interest in the decorative arts and design. In addition, I would like to recognize Greg Sages and my colleagues at The Glass House in New Canaan, CT who supported my academic endeavors with encouragement and understand- ing. I am grateful to Henry Urbach for introducing me to Murray Moss and providing me with such a wonderful opportunity to work with him on the Glass House Design Store project. To all my friends in Rowayton, CT and those along with my nieces, mother and sister in Canada: thank you for helping me take care of my family while I worked on my master’s degree. John Haffner Layden and Allan Cunningham—thank you both for your time and advice.
iii This work is dedicated to my family, Jeff, Caith and Myles. Thank you for your incredible support, patience and encouragement.
iv Introduction
At a book launch held on May 12, 2014, entrepreneur, design impresario, and curatorial consultant Murray Moss shared a personal project representing a new stage in his career in visual culture. Two years previously, Moss had shuttered his influential, eponymous New York-based design gallery (1994-2012), before opening the consultancy Moss Bureau to undertake curatorial and writing projects on behalf of various clients.1 On that spring night, Moss presented Tertium
Quid (Latin for “the third thing”), a book accompanying a photography exhibition he curated for
Hauser Wirth Gallery in New York City.2 For material, Moss combed the Internet for months, collecting archival photographs from faltering American news publications.3 He then paired im- ages, mostly black-and-white prints dating from the mid-twentieth century, to create unusual, striking juxtapositions. He selected the pairings to prompt viewers to look beyond the news sto- ries the images originally illustrated, and uncover something more—the “third thing” of Moss’s book title. (Figure 1) Some combinations drew attention to mood or theme; other pairings high- lighted formal qualities—shape, line, form. In all cases, each print in a pair helped create a new context from which viewers could derive new meaning, provoking reactions from shock to de-
1 In 2013 Moss co-authored the first book on Baccarat titled Baccarat: 250 Years of Craftsman- ship and Creativity with Laurence Benaim (Rizzoli). That same year Moss Bureau was contract- ed by the National Trust for Historic Preservation to re-design the museum shop at the Philip Johnson Glass House in New Canaan CT. In 2014 he wrote the text for the book Georg Jensen: Reflections (Rizzoli).
2 Murray Moss, Tertium Quid (New York: August Editions, 2014).
3 Moss focused on original gelatin press photos from the archives of the Detroit News, St. Pe- tersburg Times, Chicago Sun-Times, the Baltimore Sun, among others. The prints he acquired and exhibited are mainly ones that remain after news organizations digitize their archives.